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The Truth in Our Stories
The Truth is Right Here in Our Stories Immigration has long been a controversial issue in American politics and remains one of the country’s most pressing issues, dividing the nation along political, economic, moral, and ethical lines. Critics have long distorted the view of immigrants, depicting them as criminals who corrupt our neighborhoods, depress our wages, overpopulate our prison systems, and drain our economy. This misshapen narrative persists in our present time. The Truth in Our Stories presents twelve compelling stories that highlight the immigrant experience and hopefully begin to change that perception. The testimonies are unapologetically honest and reveal the horrid conditio...
Cinemachismo
After the modern Mexican state came into being following the Revolution of 1910, hyper-masculine machismo came to be a defining characteristic of "mexicanidad," or Mexican national identity. Virile men (pelados and charros), virtuous prostitutes as mother figures, and minstrel-like gay men were held out as desired and/or abject models not only in governmental rhetoric and propaganda, but also in literature and popular culture, particularly in the cinema. Indeed, cinema provided an especially effective staging ground for the construction of a gendered and sexualized national identity. In this book, Sergio de la Mora offers the first extended analysis of how Mexican cinema has represented masc...
To Punish and Protect
Former prosecutor Jeanine Pirro's To Punish and Protect challenges us to have the will and the courage to wage war on the predators roaming our streets, and to avenge their victims. "The office of the district attorney is a battleground, where the fight between good and evil unfolds each day. We see the ugliest side of life, the pain that people go through for no reason. They didn't do anything. They didn't ask for it. Yet here they are, living their personal nightmares. We cannot take away their pain, or turn back time to undo the damage, but we can be the avengers. We can seek justice on their behalf." So begins this riveting account by the former Westchester County District Attorney, Jean...
Age of discrepancies
"The first exhibition to offer a critical assessment of the artistic experimentation that took place in Mexico during the last three decades of the twentieth century. The exhibition carefully analyzes the origins and emergence of techniques, strategies, andmodes of operation at a particularly significant moment of Mexican history, beginning with the 1968 Student Movement, until the Zapatista upraising in the State of Chiapas. Theshow includes work by a wide range of artists, including Francis Alys, Vicente Rojo, Jimmie Durham, Helen Escobedo, Julio Galán, Felipe Ehrenberg, José Bedia,Guillermo Gómez-Peña, Francisco Toledo, Carlos Amorales, Melanie Smith, and Alejandro Jodorowsky, among m...
Techniques, Tools and Methodologies Applied to Quality Assurance in Manufacturing
This book presents a collection of real cases from industrial practices that production system and quality managers implement to ensure a high quality as well as a low cost in products. This book is divided in sections that are focused on: · The quality and philosophies implemented to production systems; starting from the product design as well as from the supply system. · The principal statistical techniques applied to the quality assurance (statistical quality control, analysis of tests and failure, quality function deployment, accelerated life tests, among others), the process of gathering information, its validation, its reliability process, and techniques for data analysis. · The techniques applied to the integration of human resources in the process of quality assurance, such as managers and operators’ participation, training, and training processes. · Use of information and communications technologies, software, and programs implemented to guarantee the quality of the products in the production systems. ISO standards and policies that are used for quality management and monitoring.
Fair Trade
Discusses the history of international trade and outlines the arguments for free trade.
Motherhood in Mexican Cinema, 1941-1991
How were femininity and motherhood understood in Mexican cinema from the 1940s to the early 1990s? Film analysis, interviews with filmmakers, academic articles and film reviews from newspapers are used to answer the question and trace the changes in such depictions. Images of mothers in films by so-called third-wave filmmakers (Busi Cortes, Maria Novaro, Dana Rotberg and Marisa Sistach) are contrasted with those in Mexican classical films (1935-1950) and films from the 1970s and 1980s. There are some surprising conclusions. The most important restrictions in the depiction of mothers in classical cinema came not from the strict sexual norms of the 1940s but in reactions to women shown as having autonomous identities. Also, in contrast to classical films, third-wave films show a woman's problems within a social dimension, making motherhood political--in relation not to militancy within the left but to women's issues. Third-wave films approach the problems of Latin American society as those of individuals differentiated by gender, sexuality and ethnicity; in such films mothers are citizens directly affected by laws, economic policies and cultural beliefs.
Shantytown Protest in Pinochet's Chile
In 1973 armed forces launched a violent attack against the Chilean presidential palace and Santiago's slums and shantytowns. For ten years, only the Catholic Church was able to defy the military regime. Then, in 1983, students, workers, and shantytown residents stormed the streets demanding the resignation of Augusto Pinochet. The protests raged for three years and, in 1989, democratic elections were held. The following year a new civilian government took office.Cathy Lisa Schneider examines this democratic transition from the bottom up, looking at the struggles of poor people to create and sustain organized resistance, to risk their lives to fight tyranny. Both an oral history based on over a hundred interviews collected in shantytowns and a comparative sociological study that explores political differences among different shantytowns in Santiago, this book analyzes the context in which the urban poor make choices about their lives, and the political histories that shape their vision. Author note: Cathy Lisa Schneider is Assistant Professor at the School for International Studies at American University.
Celluloid Nationalism and Other Melodramas
Celluloid Nationalism and Other Melodramas looks at representation and rebellion in times of national uncertainty. Moving from mid-century Mexican cinema to recent films staged in Los Angeles and Mexico City, Susan Dever analyzes melodrama's double function as a genre and as a sensibility, revealing coincidences between movie morals and political pieties in the civic-minded films of Emilio Fernández, Matilde Landeta, Allison Anders, and Marcela Fernández Violante. These filmmakers' rationally and emotionally engaged cinema—offering representations of indigenous peoples and poor urban women who alternately endorsed "civilizing" projects and voiced resistance to such totalization—both interrupts and sustains fictions of national coherence in an increasingly transnational world.
Women Filmmakers in Mexico
Women filmmakers in Mexico were rare until the 1980s and 1990s, when women began to direct feature films in unprecedented numbers. Their films have won acclaim at home and abroad, and the filmmakers have become key figures in contemporary Mexican cinema. In this book, Elissa Rashkin documents how and why women filmmakers have achieved these successes, as she explores how the women's movement, film studies programs, governmental film policy, and the transformation of the intellectual sector since the 1960s have all affected women's filmmaking in Mexico. After a historical overview of Mexican women's filmmaking from the 1930s onward, Rashkin focuses on the work of five contemporary directors—Marisa Sistach, Busi Cortés, Guita Schyfter, María Novaro, and Dana Rotberg. Portraying the filmmakers as intellectuals participating in the public life of the nation, Rashkin examines how these directors have addressed questions of national identity through their films, replacing the patriarchal images and stereotypes of the classic Mexican cinema with feminist visions of a democratic and tolerant society.
